Arkestrated Rhythmachine Komplexities: Machinic Geisterstunde and Post-Soul Persistencies
Research output: Contributions to collected editions/works › Contributions to collected editions/anthologies › Transfer › peer-review
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CTM 2019 Persistence Magazine. ed. / Jan Rohlf; Annie Garlid; Taica Replansky; Ollie Zhang; Dahlia Borsche; Andreas L. Hofbauer. Berlin: DISK – Initiative Bild & Ton e.V., 2019. p. 62-67.
Research output: Contributions to collected editions/works › Contributions to collected editions/anthologies › Transfer › peer-review
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RIS
TY - CHAP
T1 - Arkestrated Rhythmachine Komplexities
T2 - CTM Festival 2019
AU - ARK - Arkestrated Rhythmachine Complexities
AU - Pelleter, Malte
N1 - Conference code: 20
PY - 2019
Y1 - 2019
N2 - The ARK project began as a drum-machine choir, thrown together in 2018 on the occasion of an exhibition at the Museum of Applied Arts in Hamburg: Mobile Welten oder das Museum unserer transkulturel-len Gegenwart [Mobile Worlds or The Museum of Our Transcultural Present], a motley assembly of quaint old-fashioned machines, speak-ers, and carrying cases coated in imitation leather or wood veneers, playing synthesised rhythms at the push of a button. It is the epitome of some kind of pseudo techno aesthetic, a sleek machinic imitation of seemingly human artisanship. But there is more to it than meets the eye. Something pervades these unimposing apparatuses like a te-nacious swathe of mist, billowing through their corroded circuits, clinging stubbornly to their dusty surfaces. That’s how it is, with ghosts and machines. Not that the ARK drum-machine choir seeks to exorcise or invoke any ghosts in the machine. It simply lets these restless machinic souls pop up and play their part. It aims to make of them its familiars. Let’s celebrate the machinic Geisterstunde [witch-ing hour]
AB - The ARK project began as a drum-machine choir, thrown together in 2018 on the occasion of an exhibition at the Museum of Applied Arts in Hamburg: Mobile Welten oder das Museum unserer transkulturel-len Gegenwart [Mobile Worlds or The Museum of Our Transcultural Present], a motley assembly of quaint old-fashioned machines, speak-ers, and carrying cases coated in imitation leather or wood veneers, playing synthesised rhythms at the push of a button. It is the epitome of some kind of pseudo techno aesthetic, a sleek machinic imitation of seemingly human artisanship. But there is more to it than meets the eye. Something pervades these unimposing apparatuses like a te-nacious swathe of mist, billowing through their corroded circuits, clinging stubbornly to their dusty surfaces. That’s how it is, with ghosts and machines. Not that the ARK drum-machine choir seeks to exorcise or invoke any ghosts in the machine. It simply lets these restless machinic souls pop up and play their part. It aims to make of them its familiars. Let’s celebrate the machinic Geisterstunde [witch-ing hour]
KW - Cultural studies
KW - Music education
UR - https://www.ctm-festival.de/archive/festival-editions/ctm-2019-persistence/transfer/ctm-2019-magazine/
M3 - Contributions to collected editions/anthologies
SN - 978-3-9817928-5-0
SP - 62
EP - 67
BT - CTM 2019 Persistence Magazine
A2 - Rohlf, Jan
A2 - Garlid, Annie
A2 - Replansky, Taica
A2 - Zhang, Ollie
A2 - Borsche, Dahlia
A2 - Hofbauer, Andreas L.
PB - DISK – Initiative Bild & Ton e.V.
CY - Berlin
Y2 - 25 January 2019 through 3 February 2019
ER -